Samples # 1 + 2:
The top sample, sample #1, consists of a single bonded layer, 2 free machines stitched layers, a hand embroidered shape, and a padded centre.
Sample #2 consists of 2 bonded layers, 2 machine stitched shapes off-set against each other, and a hand stitched shape.
N.B. I found it quite difficult to push the needle through the bonded layers. Note to self: buy a thimble! :-)
1 bonded layer, a free-machine stitched shape, a hand stitched shape, and centre padded.
3 bonded layers, 6 free-machined stitched layers; a partial hand stitched layer, completed by free machine stitching, plus another hand stitched layer.
3 bonded layers; multiple shapes free machined; hand stitched shape.
4 bonded layers; 2 free machine stitched layers; hand stitched shape; centre padded.
Below are the 3 shapes used in various combinations in the samples throughout chapter 8.
With the first 2 samples I was just becoming acquainted with the process. Working on sample #3 I found myself loosening up a little. The real fun though began with sample # 4. At this point I began to think 'what if...'. I loved the layering of the stitches, and as I worked on it, I remembered the layered art cloth which Jane Dunnewold creates with textile paints and screen printing. My favourite innovation in this sample though was the partially hand stitched shape, the outline being completed in free machine embroidery. The 5th sample continued in this vein of layering free machined shapes, while the final sample returned to the simpler presentations of the initial samples, although the actual stitching shapes are more in line with the last 2 samples, eg. partial hand stitching completed with free machine stitching.
The really exciting thing about layering images is that it allows for the cohesiveness of repetition without the boredom of always working within the box, as it were. It also adds immeasurably to the perceived sense of visual depth.
Chapter 8 - Paper Relief Into Fabric Relief
6 days ago